While Muriel's Wedding has its moments of exhilarating humor, it is, as often as not, downbeat and even mean-spirited.

The pieces and parts assembled herein are familiar, but the manner in which Affleck puts them together results in an engrossing two hours of cinema.

Saint Judy has a serious agenda and, in service of that, it eschews action scenes, thriller elements, and conventional contrivances. It tells a worthwhile story and provides a primer on aspects of immigration law without becoming didactic.

Understands baseball and the men who play it, and, for a film about the sport, that's half the battle.

Not everything in City Island works - some of the secrets are obvious plot devices - but, in terms of feel-good, undemanding entertainment, this is as good as anything I have seen thus far in 2010.

It’s a step up from 28 Weeks Later but it remains to be seen whether Nia DaCosta is able to bring this chapter across the finish line.

The film makers understand that it's possible for a romantic comedy to appeal not only to the heart, but to the mind as well.

Made for the National Geographic Channel, Science Fair was devised as a television project. As such, it’s more than worthy of the time spent viewing it. The material is strong enough, however, that for those who appreciate documentaries of this sort, it’s a reasonable candidate for theatrical viewing.

Like a time-travel movie, but without the time travel, The Mothman Prophecies delights in playing with cause-and-effect relationships.

The white hats are stained dark gray as if by ashes and soot. The villains are twisted, cruel, and vile. The heroes aren't much better.

The Book of Life represents Guillermo del Toro's most hands-on foray (to date) into the realm of family friendly entertainment; this is closer in tone and sensibility to one of Tim Burton's offbeat animated films than one of Pixar's more "vanilla" productions.

The film is unusual not so much because of its content - the man vs. nature story has always been a popular one, whether in print or on film - but in its restraint. Putting an actor, even an accomplished one such as Redford, alone on screen for more than 90 minutes is a risk.

Paranoid Park is a rare breed: a movie about teenagers in which the characters talk like real teenagers, act like real teenagers, and are played by real teenagers.

While the movie will play as well at home as in a theater, it offers the kind of heart-warming, thoughtful, and occasionally amusing story that’s badly needed in troubled times.

Oozes atmosphere. The humor keeps it from becoming too creepy, but there are still a few chills to be had.

Living Out Loud is not a monumental motion picture. In fact, in many ways, it's quite the opposite - a quiet, unassuming story of friendship and love that uses richly-developed characters to charm its audience.

Unfortunately, the generic bio-pic structure of 42 prevents it from ever becoming something great.

Max is a throwback of sorts - a movie about the relationship between a boy and his dog. Lassie springs to mind as the genre classic, but this has a closer kinship to Rin Tin Tin. Although its sensibilities are old-fashioned, the movie offers a modern look and feel.

St. Vincent may be a little kinder and gentler than the likes of "Bad Santa," but there's enough inappropriate behavior and comedic friction to fuel an entertaining 103 minutes.

Those for whom Spirit was made will find this to be a thoroughly enjoyable production. As a "kids' movie", Spirit is a resounding success.

Stoker is deliciously demented, and that's a good thing. This twisted coming-of-age tale takes us into "Carrie" territory without the supernatural element.

Although the level of manipulation is several notches higher than in the Swedish original, A Man Called Otto boasts fine performances from Tom Hanks and Mariana Trevino and offers the kind of crowd-pleasing arc that runs counter to the prevalent mood of worldwide cynicism.

It's lighter, brighter, funnier, faster-paced, and a whole lot more colorful than before.

The story introduces interesting new wrinkles and the ending, when considered in the context of a trilogy, makes this movie feel less like an extraneous add-on than a part of a larger tale. There’s really nowhere else to take the franchise, however. With this sixth installment, it’s over.

The Blackening is a flat-out satire from frame #1, and there’s nothing wrong with that. It’s a breath of fresh air in what has become a very stale multiplex atmosphere.

Offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a Hollywood film.

Quirky and stylish, but not in a manner that comes across as overly artsy or pretentious.

Enjoyable enough that the sprinkles of artificial sweetness in the mix don't do lasting or irreparable damage.

There are enough laughs to justify it being labeled as a comedy but a stronger storyline than one normally associates with this kind of film. It's an enjoyable diversion amidst the big guns of summer.

Whatever social statement Ordinary People was making about its time has evaporated during the intervening years, leaving behind an open, honest drama lacking the emotional punch that would make it unforgettable today. Ordinary People should be devastating, but it's not. By any standards, it's still a good movie, but three decades have stripped away any pretense of greatness. [21 Feb 1999]

An effective period piece thriller that incorporates love, lust, desperation, and madness into a stew thickened by a gothic atmosphere.

The equation of "drugs+booze+sex=happy ending" applies. Then along comes Harmony Korine with Spring Breakers and subverts an entire genre.

Although the movie has a conventional structure, the straightforward chronological approach works for this material, allowing the viewer to come to know Cabrini and become invested in her efforts to develop an orphanage, first in New York’s Five Points slum then in rural West Park.

The movie does everything LARGE, whether it’s an action sequence or an emotional connection. By the time the 3-hour running time has expired, most viewers will be exhausted from the nonstop energy of the experience.

What sets this apart from its many competitors for teen dollars is that not only does the movie feature a surprisingly edgy and intelligent script, but it offers a group of characters capable of holding an audience's interest for more than 90 minutes.

This feel-good motion picture is intelligently written and expertly directed.

The great irony of this film, which is (at least on one level) about the power of writing, is that the words are of secondary importance to the overwhelming visual presentation.

In its day, it provided the ultimate two-hour vacation from the stark day-to-day realities of living during the Great Depression. For 21st century viewers, the film is little more than a curiosity, although it's entertaining enough.

An entertaining thriller. That said, it's the weakest of the films, falling a length or two behind "The Girl Who Played with Fire," and considerably more than that with respect to "The Girl with the Dragon Tattoo."

If there's a complaint to be made about Insidious, it's that the film's second half is unable to live up to the impossibly high standards set by the first half.

As a stand-alone movie with no connections to anything else, Shang-Chi is an engaging piece of comic book art. It remains to be seen how it will fit into Marvel’s overall plan.

Kinds of Kindness may not offer the kind of full experience provided by Poor Things but it is a reminder of the responses a movie can engender when the director doesn’t play by the rules.

Although the film provides material for adult viewers to chew on, it is not as deep or thoughtful as some of the Pixar classics.

Big Fish is a clever, smart fantasy that targets the child inside every adult, without insulting the intelligence of either.

The trailers make Run All Night look like a fast-paced shoot-'em-up and, although those elements are present, this is a darker and grimmer experience.

Berg's picture is certainly an above average effort that provides a solid emotional punch.

Spider-Man: Far from Home works best when viewed as an epilogue to "Avengers: Endgame" (and, by extension, the entire MCU multi-film arc to this point) instead of a stand-alone adventure.

It has taken Warner Brothers ten years to get this property a new life and, thankfully, the results in no way resemble those of its Cold War TV compatriot. Or, to put it another way, The Man from U.N.C.L.E. (2015) is good fun, which "The Avengers" (1998) wasn't.

Although Mc Carthy’s style is critical to the movie’s effectiveness, he doesn’t abandon the story in its service. Instead, he crafts a plot that is intriguing and engaging and caps everything off with a satisfying ending.

It's airheaded just like the songs it embraces but, if you enjoy them, there's every reason to believe you'll appreciate the film.

Ultimately, while Wilde lacks the depth and substance of the best biographical features, it's nevertheless a strong enough contender to deserve a trip to the local theater.

It engaged me throughout and I found the ending to be surprisingly hopeful.

This represesents the smartest high-budget, high-profile science fiction film to have come along in quite some time.

An intriguing and satisfying romance that may hold some appeal even for those who normally do not like films about affairs of the heart.

The film's first 15 minutes are by far the most fun (and could be the best quarter-hour of any movie released this year), with Samuel L. Jackson and The Rock letting it all hang out.

Although parts of Emergency can feel like a bizarre cross-pollination of After Hours (Martin Scorsese’s 1985 chronicle of a nightmare road trip) and Weekend at Bernie’s, there’s more going on here. Despite the comedy, the screenplay poses some serious questions that can’t simply be brushed aside.

It's a lot of fun and, because of the high quality of the cast, there's no need to feel guilty about praising such an inherently silly motion picture.

Has its share of bitingly funny moments, and some of the comedy is quite inventive.

Nothing if not versatile. And, although perhaps not as funny as one might expect given the setup, it successfully grows the main characters beyond their stereotype roots.

The ensemble cast is diverse and accomplished, but, because of the time constraints, no one has enough time to register much of a positive or negative impression.

Has the potential to be a truly memorable film, and, for more than three-quarters of its running time, it is poised to live up to that potential. But then there are the final twenty minutes.

Blomkamp's universe is a fascinating place to visit and the movie is stuffed with ideas - there's far too much here to satisfactorily explore in 109 minutes, especially when one considers that room must be made for action scenes. I departed the theater satisfied with what I'd seen but wanting more.

A disturbing and compelling motion picture that depicts the forces that try to suppress the human spirit, and the strength of these girls in overcoming it.

Ultimately, Clockers probably attempts too much, and ends up seeming overcrowded as a result.

This is adult drama with an impeccable sense of period and a strong focus on character. With today's cinema sadly lacking in movies like this, it makes Inside Llewyn Davis all the more welcome, especially for those who care about the kind of music it honors.

We don’t see many movies like Gloria Bell these days. Simple, adult character studies with major stars have become a rarity in today’s movie climate. Gloria Bell is sedate in its approach – it tells a story but the narrative is devoid of sensationalistic happenings and manipulative melodrama.

Part documentary, part parody, and part something indefinable, the film manages to succeed on its own terms and entertain on just about anyone's.

For what Man on Fire delivers, it's worth enduring Scott's hyperkinetic visual techniques.

It proves capable of doing something that many more artistically ambitious films fail at: entertaining an audience for nearly two hours.

Crafted with flair and style, and without pretension, Confidence achieves the modest goal of being an entertaining cinematic adaptation of a B-movie script with an A-list cast.

The director is a poet of images.

One aspect of Let Me In that makes this motion picture unique is the sense of pathos underlying the various relationships.

Has enough charm and whimsy to capture the attention and imagination of children and parents alike, and arguably represents one of the best live-action family films to enter theaters this year.

An uncommonly intelligent espionage thriller that explores the moral and ethical dilemmas faced by agents who go deep undercover in the service of their country.

Despite the negatives, I'm still recommending Fallen on the strength of its complex plot and especially its ending, which I loved. The final scenes are startling, audacious, and unexpected. It's not often that a plot development takes me by surprise the way this one did.

The film’s characters are as recognizably human as they are oddballs and the narrative arc could be loosely described as a coming-of-age story for a thirtysomething woman who exists in a state of extreme arrested development.

It's more heavy lifting than some will be willing to engage in but there's something welcome about a motion picture that doesn't hand out a dumbed-down resolution in a neatly wrapped package.

At first glance, Inherent Vice might seem to be a detective story. Look a little closer, however, and it becomes clear that this is Paul Thomas Anderson's idea of a comedy. There's slapstick, lowbrow material, and enough strange characters and "completely different" moments to make Monty Python smile.

Perhaps the biggest surprise of all is that the film doesn't resort to an easy cheat at the end. It plays things straight, and still manages to satisfy, making this one of Sandler's most appealing outings to date.

There are no gadgets, forcing Bond to rely on his ingenuity (in one scene, when he needs to breathe while submerged, he uses hollowed-out reeds as air tubes). The single car chase is reasonably straightforward. And, for the only time in the series, 007 is unmistakably brutalized, appearing bloody, beaten, and disheveled as a result.

Planes, Trains, and Automobiles is one of those rare movies that manages to mingle outrageous comedy and light drama in such a way that we aren't repulsed or offended by its simplicity and occasional mawkishness. It's a fine cinematic treat that doesn't demand much from a viewer, but gives back a lot, both in terms of laughter and good feeling.

While Chris Brancato's script doesn't reveal anything new or surprising (students of history and fans of "The Cotton Club" already know how this film ends), it's a competent piece of storytelling that incorporates elements of human interest with the threat of escalating violence.

Although the narrative trajectory may be familiar, the specific path taken by director Andrew Patterson feels fresh.

While this is probably the actor's best turn since Rocky, and he does a credible job that may earn him the opportunity to do more "serious" work in the future, Stallone's performance is outshone on all sides. That's not a knock against him; it's an acknowledgment that the supporting cast is about the best that it can be.

It is being touted as “Miike’s 100th film” and, while one could argue whether the numbering is strictly correct, it’s close enough to be reasonable. Here’s to another 100.

A fun, fantastic adventure, but, watching it, I had the sense that it could have been even better than it is. I was diverted and entertained, but never truly absorbed.

Eminently watchable and consistently entertaining...It has a candor that is unexpected and refreshing in a sea of too-often generic teen-themed films.

Gets the most bang for its buck by letting the camera linger on the spectacle, and allowing tension, not flashiness, to be its hallmark.

Final Account may ultimately be more important for the voices it immortalizes than for its worth as a conventional documentary.

Those who enjoy gritty, angry Westerns (especially those set in the Australian bush rather than along the American frontier) will find much here to their taste, none of which is in need of additional seasoning.

A blistering satire of feel-good sports movies, this film makes its mark via the most direct route: it lampoons by adopting the tried-and-true "straight" formula and tweaking it a little.

A wonderfully nostalgic, and occasionally insightful, window into the recent past.

By limiting the film’s time frame, the narrative is allowed to breathe and, as a result, we get a distinct snapshot not only of the main character but of the setting that resulted in his becoming historically important.

What's missing from Mockingjay - Part 1 is a strong through-story. The previous films were characterized by engrossing, well-constructed story arcs but Mockingjay - Part 1 meanders.

This is not Schrader's finest work. The script is not tight, the ending disappoints, and there's a little too much drawn from American Gigolo. But there are some great one-liners, compelling actors, and well-developed characters.

As intense and as harrowing as any British thriller to emerge from the east side of the Atlantic in recent years, and there are some good titles vying for that distinction.

Although This is 40 is too long and at times over-the-top, its essence is grounded in everyday moments and emotions that will have viewers nodding with understanding and recognition.

This is a creepily effective excursion into terror that, if watched alone in the dark, may generate post-movie jitters. It’s a quietly intense alternative to generic horror movies that provides its share of scares without the need to splatter the screen with blood and viscera.